Hot Mujra

Let's Dance Mujra

Degung

Bajidor Kahot

Semar semar ya gegelar
Semar kuncung
Dana wulung
Semar pakuning alam

KARANG TUMARITIS—Let us watch Panakawan Lurah Semar Badranaya and sons Sastrajingga, Udawala, and Nala Gareng who are holding jaipongan dance from Wrehatnala Group to console all people of cyberworld.

SEMAR: Son, come here. Let’s watch Jaipongan Wrehatnala.
CEPOT: OK, Dad. Hehe.... so nice! Dewala, let’s dance.
DEWALA: Okay. Just for exercising my body. It’s so crampy. Where is si Gareng, Bro?
CEPOT: over there, close to the singer.
DEWALA: Wow, look at si Gareng, his jaipongan dance is great.
GARENG: Shut up! Let’s dance!



CEPOT: Wow, so beautiful... so sexy. Jaipongan dance from Wrehatnala is so hot.
DEWALA: Think it as an art, Bro?
SEMAR: Sons, let’s meet Mr. Arjuna. He is coming.
CEPOT: OK, Dad.

Ruwatan

RITUAL CEREMONY OF RUWATAN
By Siswo Harsono

Ingsun angidhepa Sang Hyang Guru Reka
Kamatantra: swaranku manik astagina.
Tan Mpu Akung

I. Introduction

Some time ago the Faculty of Letters UNDIP held leather puppet show for the benefit of Ruwatan. The play within the show was "Sesaji Rajasuya." The play is not common as an act that normally holds Ruwatan story is "Murwakala" or "Sudamala". Staging the play "Sesaji Rajasuya" probably related to the interests of the institution for the entire civitas academica of Faculty of Letters and safely free from evil prospers.

Thus there is an interesting cultural phenomenon of the Ruwatan. First, the Faculty of Letters as an academic institution, its civitas academica is dominated by the Javanese and still attached to Javanology. Second, the civitas academica of Faculty of Letters whose activities are based on rational-empirical still support rituals based on mythical beliefs.

II. Discussion

According to Helman (1984:123), the ritual is a stereotyped series of activities involving gestures, words, and objects held in a place and are designed to affect the entity or the forces of nature for the benefit and purpose of the perpetrator. He further said that the key characteristics of all the rituals are repetitive behaviors that do not have a direct impact, such as technology. Ritual symbols associated with the values, norms, beliefs, sentiments, roles and social relations in the system of community organizers cultural rituals, which can be translated according to context.

Ritual of Ruwatan including type of rite de passage about the birth and death especially associated with misfortune or bad luck.

With reference to Turner, ritual of ruwatan has expressive and creative functions because its values is packaged in a dramatic puppet show, and those related to efforts to create better living conditions and prosper free from the plagues. In addition, by referring to Helman (1984:124), Ruwatan also has a function that collides between psychological, social and protective functions. Psychological function of Ruwatan appeases emotions associated with the business community psychiatric organizer. Social functions related Ruwatan to symbolic interactions that community in the formation of social cohesion. While the protective function of ruwatan concerned with protecting their communities from misfortune and calamity.

1. Mediation in the ritual of ruwatan

Human relationship with God in a ritual performed by mediation, which serves to connect the different realities. In the ritual of Ruwatan, includes empirical, psychological, mythological, and theological realities. Meanwhile, the mediator includes ritual leaders, cultural heroes, and mythological heroes. Mediation can be schematized as follows.



2. Five components of trust: ruwatan ceremony

Ritual of Ruwatan has five components of trust. With reference to the Koentjaeaningrat (1985) about the five components of a religious ceremony, the five components of trust in the ruwatan ceremony are as follows.
a. Group trust, the community and enable to conceptualized ruwatan ritual and ceremony systems.
b. Belief systems that shape human thoughts and ideas about God, mythology, contained in the act Murwakala, Sudamala, and Sesaji Rajasuya.
c. Emotional trust encourages communities to do the ceremony of Ruwatan.
d. System of Ruwatan ceremony is divided into components: a ceremony on the stage, time ceremony during the show, the actors of Ruwatan ceremony, literature of Ruwatan spells, and the mastermind as a leader Ruwatan.
e. Equipment that is Ruwatan ritual objects and ceremonial tools and a set of leather puppet show Uba-rampe of offerings.



3. The pattern of human relations, cultural heroes, mythological heroes, and God

The pattern of relationships between human, cultural heroes, mythological heroes, and God in the ritual of ruwatan can be schematized as follows.

In Ruwatan, man's relationship with God mediated empirically by Ki dalang as master of ceremonies, Ki dalang mastermind or masterminds Kandabuwana Sampurnajati as cultural heroes; and Batara Guru, Batara Vishnu, or Krishna as mythological heroes. The edicts of mediation between cultural heroes with mythological heroes are Sahadev and Krishna.

4. Cultural Heroes

In a ritual Sudamala, the cultural hero is puppeteer Ki Sampurnajati. In Murwakala, the cultural hero is puppeteer Ki Kandabuwana. While in Sesaji Rajasuya, the cultural hero is King Krishna.

5. Mythological Heroes

Mythological hero in the play of Sudamala is the Guru, in the play of Murwakala is Batara Vishnu, and in the play of Sesaji Rajasuya is Batara Krishna. In the play of Sudamala, Sahadev, Guru incarnates to act as puppeteer Ki Sampurnajati to cure Kunti who became mad because of trance goddess Durga. In the play of Murwakala, Batara Vishnu incarnates Kandhabuana to cure the Sukertas which are exempt from the prey of Batara Kala. While in play of Sesaji Rajasuya, Batara Vishnu incarnates to Batara Krishna to the release of the Pandavas from King Sisupala disorders.

Cultural heroes and mythological heroes in the ritual lof ruwatan



III. Conclusion

The ritual ceremony is a ritual performed Ruwatan to eliminate bad luck (misfortune) that afflicts human life. The ceremony was held in the form of leather puppet show with the play of Sudamala, Murwakala, or Sesaji Rajasuya. Ruwatan ritual leader is a puppeteer who acted as mediators between the organizers of empirical ritual with God through cultural mediator’s heroes of Sahadev, Kandhabuana, and Krishna, as well as mediators of mythological heroes, Batara Guru and Vishnu.

Ruwatan has expressive, creative, psychological, social, and protective functions. Its expressive function contains in the form of dramatic puppet show. Its creative function is an attempt to create a prosperous life and free from evil. Its psychological function gives peace to the supporters. Its social function is a means of symbolic interaction and social cohesion for the community. Its protective function is to protect the community of ruwatan supporters from distress.

The truth value of ruwatan can be classified into constitutive of truth, logical truth, aesthetic truth, and evaluative truth. The constitutive truth of ruwatan relates to mythological belief systems. The logical truth of ruwatan is associated with human effort to avoid the distress which in this case is in accordance with the pain and pleasure principle in psychoanalysis. The aesthetic truth of ruwatan relates to the puppet show. And its evaluative truth of ruwatan relates to the community of ruwatan supporters as an alternative solution to the welfare of life.

Reference
Amir, Hazim. 1991. Nilai-nilai Etis dalam Wayang. Jakarta: Pustaka Sinar Harapan.
Groenendael, Victoria M Clara van. 1987. Dalang di balik Wayang. Jakarta: Grafitipers.
Herusatoto, Budiono. 2003. Simbolisme dalam Budaya Jawa. Yogyakarta: Hanindita.
Moebirman. 1973. Wayang Purwa: The Shadow Play of Indonesia. Jakarta: CV Anugerah.
Purwadi. 2002. Penghayatan Keagamaan Orang Jawa: Refleksi atas Religiositas Serat Bima Suci. Yogyakarta: Media Pressindo.
_______. 2003. Tasawuf Jawa. Yogyakarta: Narasi.
Soetarno.1995. Ruwatan di Daerah Surakarta. Sukoharjo-Surakarta: CV Cendrawasih.
Sujamto. 2000. Reorientasi dan Revitalisasi Pandangan Hidup Jawa. Semarang: Dahara Prize.
Thohir, Mudjahirin. 2007. Memahami Kebudayaan. Semarang: Fasindo.

Arimbi's Love Song

Fever really romance
Like the flare Sahara;
Then freeze
Like a lump of snow

At the South Pole:
Not covered!

PALACE, Pringgodani. -- Chunk of restless heart full of hallucinations dancing in dreamland. His smile was calm when developing the do'i came to remove doubt. Moan inevitably answered all the pent-up feeling in the depths of the mighty in heart. And a voice came delirium: -

Bim ...! Come dear,
Do not let me
Suffer like this
: Hot embers felt,

Felt cold snow!
Hearing like delirium was Arimba shocked, then he rose examine where it came from that delirium. Inquired have inquired, it turned out delirium room blaze of her younger sister, Arimbi.

ARIMBA: Ori, why are you?

No answer! Arimba stepped into Arimbi's room.

ARIMBA: Ori, Orimbi, wake up!

Hoarse cry broke the stillness of the night. Arimbi writhed; then he slowly opened eyes. She hastily covered her wearing only sloggy-Tanga. He also had time to evaporate like a crocodile.

ARIMBI: What is it, Mas?

ARIMBA: You were delirious! What'd ye dream, Ori?

Arimbi furrowed her brow to pretend to remember his dream. He was grinning when it came to her brother how to fool it.

ARIMBI: Em ... that's it, a dream pursued by thieves.

ARIMBA: Dream chased a thief? Why instead of saying so-dear?

ARIMBI: Oh, sorry: because, other than another thief. He is a three c guy!
ARIMBA: What's a guy 3c?

ARIMBI: A 3c guy means; clever-cute-saucy!

ARIMBA: Ah, there you do run this! By the way, how's your job this afternoon? You managed to kill the Milky rancid it?

Arimbi gasped after hearing the name "Milky Way" was mentioned with malice in such a way. But he grinned sheep: amused too! Precisely why guys 3c Bima thief of his heart. This afternoon he was given a mandate to kill his brother by Bima. It was originally Arimbi furious after hearing the news Pandavas aggression against his country - Pringgodani; but after he saw the Milky appearance of 3c, the anger became a million percent, and ... ah, he was stricken with fever romance.

Throughout the afternoon only thee is imagined;
Thou art the whole night just hugged!

ARIMBA: Why do you look so ndomblong-ngeblong, Ori?

ARIMBI: Eng ... nganu, news of Pandavas aggression were empty-toothless. Liar! There were only a few illegal immigrants; the passer-border is opening new fields! He said, from Astina they were expelled from the State because of lost gambling ... sorry, yes, Mas Rimbo.

ARIMBA: Illegal Immigrants who lost gambling? They become a border crossing, so?

Apparently Arimba also intrigued by the news that her brother custom asphalt. How easy it is to distort the facts Arimbi socio-political.

ARIMBA: Tragic! Defeated play dice, would be.

ARIMBI: Not playing dice; that his gambling people are illiterate. Kuni! (So ancient). State Astina not like our country, Pringgondani, which still has giant culture has long claimed that B3B (free three blind), therefore letters and numbers gambling has become a tool and ready to export!


ARIMBA: Ha, ha, ha ... you're great, Ori! I have a brother proud as good as you!

Arimbi again grinning-sheep. Satisfaction already made a fool of himself to his brother's unanimously-unanimously, alias agree without-this-that of false news. Then he leaned over the bed dunlopillo.


ARIMBI: G'nite, Bro!
ARIMBA: G'night!

Morning to welcome the day so bright, but Arimbi looked nervous. Her eyes were red, as red saga seeds. It could be understood because he could not sleep as usual who like snoring. God forbid newborn baby: a girl sleep in snoring! Opo tumon!

This time Arimbi dressed up once. He tried half-deadly to make her pretty. Her cheeks were split four-rich mango powder mixed Viva Kelly to mendempul acne rich that quail eggs. Then he scratched the blood-red lipstick on her lips that was like pig's snout; result, yes, pig rich drink chicken blood! Her body was dented and the fat-black-shabby waddle: hell wants to compete on the catwalk model, but, even though his style is similar-swollen elephant! He tried to smile a sweet half-dead, but her no compromise nausea face can be invited. As a result, he could only look like a Dracula.

Arimbi really chafe against him; but because it has been demon-Sarpakenaka curious spirit, he risked going too tempting Bima. He mbatin: with one pounding headache certainly borne Milky -gayeng intoxicated him.

At the door of his house he had collided with Arimba.

ARIMBA: Hey! Crazy! What the hell are you, Ori? Crazily strange! Where are you going?

ARIMBI: Em ... such and such, would investigate the illegal immigrants that!

ARIMBA: But ... Yer fashion that, gosh, like Barongan-crazy!

Arimbi embarrassed, but he care what the devil the same pass! Arimbi lightning leaped into her open-top roof jeep roof. Then step on the gas to the border Pringgodani bablas nggeblas.

Timber great big tree,
The trunk width shade leaves;
His heart blooming fresh flowers,
Expecting the arrival of beetles.

BORDER, Pringgodani .-- In the heavily fortified border was Arimbi had a war of words with the guards. But because he is younger brother of a topnotch government officials, plus very astute in the matter of bribery, everything was okay! Arimbi casually entered the forest area of openings.

Her open-roof Jeep parked casually in the middle of the road, then Arimbi slam-foot to the location of the illegal immigrants are nothing but instead of the Pandavas.

The location seemed so quiet. Only the sounds of birds and great-great-wolf howled in the distance. Arimbi lifted his gaze, and then smiled. Near the house there is a shadow board black. Arimbi slowly approached, his eyes wild. Suddenly he hugged the old man who stood near the house board.

ARIMBI: O, Mas ... Mas, Bim! I miss ya very much. Period envy menega let languish like this?

The man was still standing rigid. Arimbi even added incentive to kiss.

ARIMBI: Mas Bima, close my turmoil of love. I do not hold the stricken fever-hot romance like a head cold into the furnace and the body into the refrigerator.

The man remained standing stiffly. So gemasnya Arimbi punch. But suddenly she screamed in pain.

ARIMBI: Bajirut Ouch! Gak taunya wood sculpture, dammit!

Realizing that nervous behavior model so Arimbi was celingukkan while smiling at herself. Crazy! Luckily no one wrote.

In the distance the men were cutting down trees. Arimbi cheered in my heart that he Mas Bima! With tiptoe he approached him from behind. Immediately, he closed the man's eyes.

ARIMBI: Hayo Mas Bim! Guess who I am?

Known only person surprised, until his ax mencolot. Apparently the man was an old-grandfather, bald and had no teeth anymore.

GRANDPA: Eh! Afa-afaan Kowe?

ARIMBI: Oh, sorry, Grandpa! I think Grandpa Diamond Milky!

Obviously, it embarrassed kecele as seven generations. The toothless old man just stared, and then grinned. Basic pertu (spinster!).

GRANDPA: Kowe people still looking siafa?

ARIMIBI: Looking for Mas Bima, Grandpa!

GRANDPA: Your boyfriend is in Tegal?

ARIMBI: Em ... such and such, yes, yes, Grandma! But he's unfaithful, hypocritical, like mutually boyfriend, champion!
GRANDPA: Ho-oh! He-he-he ... gamfang. Felet ae let me faithful!
ARIMBI: How, Grandma?

GRANDPA: Gamfang, asked the Grandma!

There was laughter ngekek like witch Mak Lampir a la radio plays version.

Grandma: There are many ways for menggunagunai an arrogant guy like the Milky. Want to use which one: Jaran Guyang, Satan Kober, Semar mesem, or Tali Roma? It's all powerful and guaranteed cespleng, my grandson!

After tirakat for seven years and seven months and seven days and seven nights, as well as complete all-Ubarampe, Arimbi into action. He tried all the voodoo that. Let Bima klenger seven generations!

Jat Bima singa naba Manua ya manui
As crocodiles hungry to see the baby!

That afternoon the Milky like to influenza ngelu head! His mind was shattered, and his personality ambyar! Looking at the behavior of nyleneh like it Bima, Arjuna who is good to make love to know signs.

ARJUNA: Mas Bima, you got charms that over-dose!

BIMA: Pantes! It was really all bad. But I think people never nyalahi.

ARJUNA: If you see a motive, ordinary, revenge romance, and if you look at its form, this must come from blind culture. Understandably: primitive!

BIMA: Well, certainly it from Pringgondani oriented to the east and south of it! Barbaric!

Bima suddenly crept out, then nggeblas toward Pringgodani. Arimbi which had always been waiting for and promised not to shower until they've been met with the Milky Way, what a delight his heart. So see if, in cash Arimbi-flower bath. Hastily he picked Bima up.

ARIMBI: Finally you came too, Bim!

Bima was stonily silent.

ARIMBI: Really kill me curious seeing people like to underestimate women!

BIMA: Do I blame you?

ARIMBI: No!
BIMA: So what do you want?

ARIMBI: Up to me dong!

Bima actually know all that is in the inner Arimbi. Dewa Ruci nature has taught him to read it. With anger that no longer blocked Milky made Arimbi hair pulling.

ARIMBI: Heeelllppp!

Devil in the grimace, the devil laugh out loud,
wikwikong monyong bolong!

In the meantime the spirit Sarpakenaka Arimbi shot out of the soul. His red eyes turned pale bodies. Arimba shocked, directly confront Bima.

ARIMBA: You bastard! Feel ya my keramat this moment!

Bima's fury could not be matched by the Arimba one. The only way to paralyze the Milky was only with busy fighting.

ARIMBA: Brajamusti! Brajadenta! Brajakisalpa! Brajalamatan! Purbakesa! Kalabendana! Ringkus the Milky rancid quickly this!

Once there is a chance Arimba quickly search for survivors hiding in the armpit father-in-law. Busyet! Rich chicken! While the fear of being hunted ghosts Arimbi Sarpakenaka who demanded compensation for lack of offerings. Arimba can not do something, so did his father-in-law.

Arjuna saved Bima almost in the waste to the morgue. Krishna came sooner to treat Milky with Kembang Cangkok Wijayakusuma; postmodern science to rescue suksma of death that has not destiny! Kyai Semar was also present along with companion Panakawan the sons of the Pandavas. And Kyai Semar, too, who could dampen the spirit, haunts Sarpakenaka Arimbi disturbing.

It was told Arimbi went to aesthetic surgery at the salon of aunt Kunti. Cosmetic surgery is handled some surgeons. Dr Lars M Visnes, Dr. Steven Herman, and Dr. Thomas J Krizek. They agreed to deconstruct Arimbi in total: dermabase, surgical body contour, breast augumentation, rhydectomy, suctioning lipectomy and abdominoplasty. The results were a surprise. Arimbi the face pretty sick of it now, absurdly cinematic: Madonna and Dolly Parton just totally lost!

ARIMBI: Mas Bim, if you love me now?

BIMA: No!

Arimbi: I was about what? For you do everything!
BIMA: What does it mean a new face, new look, new fashion, but never a new thought!

Arimbi: I've not known what to do anymore?

BIMA: Seek for all novelties all over the world!

So mush feeling devastated Arimbi. He walked slowly, and then decided to undergo "surgery cartoons" in the salon Mas goen, then "digital surgery" at the salon Ki dalangmaya. Yes, for love, for the sake of Bima.

Bim Mas, Mas Biiimmm ...! Shouted the rebel Arimbi heart, burst out in all the recesses of the mind that is not locked.

Ki Harsono Siswocarito
Semarang, 14 March 2011

Aesthetic Concept of Lakonet

Introduction

The murwa above is quoted from http://wayangcitra.blogspot.com/, a site of wayang in cyberspace that is hyperedited by Ki Harsono Siswocarito, since November 2007. The site uploads new genres of wayang, such as lakonet, visual wayang, digital wayang, graphic wayang, animation wayang, and interactive wayang. But in this writing the genre discussed is only lakonet, especially relating to its aesthetic concepts.

The meaning of aesthetic concept in the title of this writing is the ideas of beauty implied within lakonet. Whereas the meaning of tension between tradition and innovation is the aesthetic concepts that refer to the ideas of traditional beauty and those of the modern ones.

Meaning of Lakonet

Lakonet is a blend of the word "lakon" (wayang story) and "net" (Internet). This term is used by Ki Harsono Siswocarito to refer to a new wayang genre that is published in the Internet. The aesthetic concept of lakonet as a new genre of wayang refers to pedalangan literature.

Pedalangan literature is literary devices created by dalang in the performing art of wayang. It consists of murwa or pelungan (opening of pedalangan poem or suluk), nyandra janturan (first scene description) and pocapan (scene narration), suluk (padalangan poem), antawacana (wayang dialogue), sabetan (body language of wayang), suara (voice, sound, and onomatopoea), tembang (song), mantra (magic poem), and cerita (wayang story).

A. Murwa

Murwa is the opening poem of wayang show, in pedalangan of East Java it is known as pelungan; in  Central Java it is known as ilahengan; and in Wes Java it is murwa. Below are the examples of a short murwa and long one.

Kembang sungsang binang kunang

Cahaya nira kadya gilang gumilang

A long murwa below is from the pedalangan of West Java.

Adam Adam babuh lawan

Ingkang ngagelaraken cahya nur cahya

Dangiang wayang wayanganipun

Perlambang alam sadaya

Semar sana ya danar guling

Basa sem pangangen-angen

Mareng ngemaraken Dzat Kang Maha Tunggal

Wayang agung wineja wayang tunggal

Wayang tunggal

In Ki Harsono Siswocarito's lakonet, murwa derived from literary pedalangan is modified into a new form. Below are the examples of English version murwa in his lakonets.

The glass screen, Gusti

Is shadowing wayang

Wayang's obeying dalang

Dalang's ruling wayang

Its shadow is sign, Gusti

And

My worship is for God only

Universe creator and all its

I adore all of the great poets

To whom worship God only

And also

The greatness of a king

Is in his wise thinking

The greatness of a state

Justice for people to get

B. Nyandra

Nyandra is a scene description by using prosy language in wayang performance. There are two kinds of nyandra: janturan and pocapan. Janturan is scene description with gamelan music; and pocapan is scene narration without gamelan music. Based on the pedalangan of , Ki Harsono Siswocarito modifies a nyandra and translate it into English below.

1. The example of Janturan

Sinareng nira pertangga, watri gumanti sang hyang latri kapundut ima-ima gambura kalawan ancala. Gambura is the beginning, ancala is the hill of mountain, si Walangtunggal the story signed by asta gangga wira tanu patra. Asta is hands, gangga is water, wira is wise man, tanu is ink, patra is words. Words and ink are created into an alphabet of wilanjana wilanjani. Wilanjana is the alphabet of Ha, wilanjani is the alphabet of Alip. The alphabet of Alip spreading out in the West became thirty letters, Alip ba ta sa. Don't finish the alphabet of Alip, it is not the right place to concern with the alphabet of Alip. Vanishing the alphabet of Alip is existing the alphabet of Ha. The alphabet of Ha spreading out in the East, falling into the Java island was created into the alphabet of kalih dasa, kalih two, dasa ten, the twenty letters are divided into four mazhab, such as:

Ha na ca ra ka is east, da ta sa wa la is south, pa da ja ya nya is west, ma ga ba ta nga is north. Ha na ca ra ka is the governor, da ta sa wa la is the ordered, pa da ja ya nya is the bad heart, ma ga ba ta nga can not be said. The alphabet has died in the north.

Vanishing the twenty alphabet, exists again the alphabet, wulanjana wulanjani. Wulanjana ia desire of father, wulanjani is desire of mother. The desire of father falls into the desire of mother, goes into puri. is woman, puri is a palace. Which palace is going to be the opening? The…… palace is used as the beginning. Basically the state is panjang punjung pasir wukir loh jinawi. Panjang is told by people, punjung is highly distinguished, pasir is ocean, wukir is mountain, loh jinawi is very wealthy, not lack of clothes and food, and diamonds.

Who becomes the king? The king sits in the ivory throne of gilang kencana crowned by binokasri jewelry, wearing gelung gono, gelung gongsor, kelat bahu kempal dada, strapping on his keris of Kyai Jagapati, pendok carved by coriander motif, its amar-amaran yellow silk, white silk, black silk, red silk, dodot gresik wayang.

One playing a dalang is dora sembada, dora is lie, sembada is fit. What cause becomes fit? There is a fact. What fact is it? There is wayang purwa. Wayang is a shadow and purwa is a beginning. Only following an ancient plot, following old traces, old man began, young man just does. But the difference is that the ancient wayang has been changed into wayang golek. What is the meaning of golek, disenggol or touched until dead lying, and its eyes still opening. However, the word golek according to Javanese is to look for. Looking for what, looking for its origin, because golek is not different from man. Hush dangerous golek is made similar to man. Is not golek made of wood, carved, painted, becoming a doll. Why can the doll speak alone and live? Golek is moved without move, gesture without gesture, because golek is spoken by dalang. Do not feel to be a dalang, only feeling to play wayang, to play dalang. Playing of what? Playing of wooden puppets, you see, audience need entertaining, better than sleeping in the evening.

Mountain without valley there is not a black monkey. The Long tale is made short, the short is cut, sebat kang genjotan.

Nayndra in lakonet is modified into short one, like the examples below.

MERCUKUNDA, SURALAYA—Sang Hyang Pramesti Guru Jagatnata is Sang Hyang Otipati, the king of Jagat Triloka, sitting on the throne of Kursi Gading Gilang Kencana, visited by divas, bataras, sanghyangs, gods, goddess, all citizens of Sorgaloka.

And below is the shorter one.

ASTINA—The leaders of Kurawa together with General Baladewa, the President of Mandura, discusses national catastrophe.

2. The example of Pocapan

Pocapan is scene narration without gamelan music to tell its event. Below is an example of pocapan in Jaya Renyuan performed by dalang Dede Amung Sutarya:

Padmanegara nyandak dua hulusapu bade dicipta ku Kresna. Atuh Kresna rep idakep ana sinuku tunggal babakane caturdriya--catur papat, driya angen-angen, sir budi cipta kalawan rasa. Pangambung teu diangge ngangse; soca teu diangge ningal; cepil teu diangge ngarungu; baham teu diangge ngucap lir ibarat anu paeh ngadeg, nanging bentena pedah ngangge ambegan.

In lakonet, pocapan is also modified into short one, and even like lines in poetry. Below are the examples.

All divas are prepared
To attack Triloka's foes!

And below is the poetical one.

The giants attack cruelly!
The giants fight angrily!

C. Suluk

Suluk is the poems sung by dalang in wayang show. Below are the examples of suluk from the pedalangan of West Java.

Saur nira tandana panjang

Sinenggih sabda ya uninga lawan

Sabda ya uninga lawan

Sauri nira tandana panjang sinenggih

Sabda uninga mama

Ulun layu dening sekti ala bakti dening asih

Ya ding asih

Wong asih ora katara

In lakonet, suluk is modified into couplet poems. Below are the examples of suluk in Ki Harsono Siswocarito's lakonet.

Standby sang Dursasana
Troop commander of Astina!
Kurawa attack the campus
The students deadly push

D. Antawacana

Antawacana is a dialogue between wayang figures, and a dialogue between wayang figure and nayaga (musicians), wirasuara (man singer), or jurukawih (woman singer) is called aside. Antawacana is presented after pocapan. Below is an example of dialogue in Jaya Renyuan garapan performed by dalang Dede Amung Sutarya:

KRESNA: Eladalah, Yayi, Yayi Setiaki.
SETIAKI: Kaula nun.
KRESNA: Kakang Patih Udawa.
UDAWA: Lo, lo, lo, Hahahah… pun kakang Patih Udawa.
KRESNA: Marajeng ka payun calikna.

Below is antawacan in lakonet.

BIMA: Our distinguished professors! Are you regret the action of Kurawa's troops?

KANETRA: Of course! But, I regard such an action is funny clown. And we could defend ourselves.

PULASIA: Huahaha… right! The attack's no significance for biomacrobot, my robotic engineering.

ESTIBANDA: And my future monsterobot could destroy the troops.

MANINGRAT: Bastard Kurawa! Such a snob Wayang's dare to show off. Overacting! Khhk-phew!

MARUTA: They should be educated, Prof! Make them nyaho!

BARUNA: All right! They think sciences only exist in , technology only exists in ? So proud!

BIMA: Great! The military action of Astina should be executed. Prepare the troops of biomacrobot and monsterobot to attack Astina.

PULASIA: Yes, Sir!

ESTIBANDA: OK!

E. Sabetan

Sabetan is the body language of wayang including dancing, acting, and fighting. Dancing is the gesture of wayang accompanied by song and gamelan music. Acting is the gesture of wayang only accompanied with kecrek or kendang. Fighting is the gesture of wayang in war accompanied with gamelan music or only with kecrek or kendang. In lakonet, sabetan is presented by scene action.

RIMBAMALA.—Mintaraga is battling with the troops of Manimantaka.
“S-stop! W-who are u?”
“Gong, let's beat em!”
“Great!”—(Thwack! Clunk!)
Falling-surrendering (Crash! Boom!)—“Feel this! Whoosh!”—(Clunk! Boom!)—“O-o-ouch!”
“Phew! Bastards! Kaladurga, Kaladurjana, Kaladuraksa, Kaladurmala, Kalastuwila, Kaladaksa, Kaladarba, Kalagarba, Kaladuskerta, Kaladusta, Kaladursila—attack!”
“Reng, let's attack em with grenades!” +
“Ok!”—(Click! Whoosh!)
(BOOOM!)

F. Suara

Suara is voices, sounds, and onomatopoeia to complete sabetan, especially fighting. Below is an example of suara from a lakonet (lakon or drama in Internet) by Ki Harsono Siswocarito.

“Nurkala Kalimantra! Fight me Batara Wisnu!”
“Who? Wisnu? March—where is the champion of divas? Grrrk-phew! Look, are you sleeping? O facing downward! What are you doing, Wisnu?”
“No mal-question! Feel this missile of Cakra—you die!”—(Whoosh! Clap!)
(Krep!)—“Huahaha… such a missile does not wrok!”—(Blep! Ccss!)
“Crazy! Useless, Wisnu!”
“Ouch, damn it—”
“Run! Run! Run!”

G. Tembang

Tembang is song sung by pesinden (woman singer), wirasuara (man singer), or dalang. Woman singer sings the opening song of wayang show. Woman and/or man singer sings songs along with wayang show. Songs in Limbukan and Gara-gara are sung by dalang duet with woman singer or guest stars. Below is an example of the opening song from the pedalangan of West Java:

Sampurasun dulur-dulur

Nu aya di pilemburan

Wilujeng patepang dangu

Ti abdi saparakanca

Ti abdi saparakanca

Gamelan Munggul Pawenang

Nyanggakeun hiburanana, Juragan

La mugiya janten panglipur

Pangbeberah duh kana manah

The song below is sung by panakawan in Ki harsono Siswocarito's lakonet derives from Sundanese Asmarandana.

Gandasari buah ati

Pujaan urang sadaya

Buku pinuh kupapaes

Alus jadi patamanan

And he quotes and modifies a song from the Rolling Stones.

Yu yus tu bi mai parti dol

Bat now yu sey de parti’s oper

The original lyric is:

You used to be my party doll

But now you say the party's over

H. Mantra

Mantra, magic poem in pedalangan, consists of two categories. First, mantra recited by dalang before performing wayang show. Second, mantra recited by a figure of wayang to show its power. The first example is the mantra of opening performance from Mpu Tan Akung:

Ingsun Angidhepa Sang Hyang Guru Reka,
Kamatantra: swaranku manikastagina.

The second one is mantra penyirepan recited by Indrajit to make other characters sleep:

Rep sirep si Megananda
Wong sarewu padha tumut
Salaksa wong serah nyawa

I. Cerita

The story of lakonet derives from wayang stories. Wayang stories can be classified into pakem, carangan, gubahan, and sempalan stories. The pakem stories derive from Mahabarata, Ramayana, Serat Paramayoga, Serat Pustaka Rajapurwa, Serat Purwakandha, etc. Carangan stories are the modified versions of pakem stories. Gubahan stories are the adapted versions. Sempalan stories are the new creative versions of wayang stories.

Supporting Ellements

Beside the elements of pedalangan literature mensioned above, lakonet has supporting elements such as image, hypertext, and cybertext.

Image is the illustration picture used as supporting element of lakonet. The image for lakonet illustration applies digital wayang, a wayang picture that is made by using tdigial painting technique. By reffering to the aesthetic concept of layarmaya, digital wayang digital is made in reverse of printed wayang. Layarmaya uses black background, and printed wayang uses white background. So digital wayang uploaded in lakonet is a white shadow on a black background. It is different from a printed wayang that manifests a black shadow on a white background. And so does a black shadow of wayang kulit on a white background.

Hypertext in lakonet consists of internal link and external link. The use of link make a text different from a hypertext. Hypertextualization is a process of mediamorfosis from a written text into an electronic hypertext.

Cybertext in lakonet is an interactive facility between hypertextualization done by ki dalangmaya and its cybercommunity in cyberspace. Such an interactivity gives a chance to all netizens within the cybercommunity to interact actively.

Conclusion

Pedalangan literature is very plural and has many genres. This case indicates that the plurality of Indonesian pedalangan has many kinds of styles, such as pedalangan styles of West Java, Central Java, East Java, Bali, Lombok, Banjar, and etc.

Lakonet is a postmodern genre of wayang that uses Internet as its medium of perform-ance and publication. However, the readers can read the printed version in this lakonet booklet.

Semarang, 22 Juni 2008

References

Harghana SW, Bondhan. 2003. Janturan Jangkep Wayang Purwo. Sukoharjo-Surakarta: Cendrawasih.
Haryanto, s. 1992. Bayang-bayang Adhiluhung. Semarang: Dahara Prize.
Sukatno, Anom. 1993. Janturan lan Pocapan Ringgit Purwo. Sukoharjo-Surakarta: Cendrawasih.
Sutarya, Dede Amung. 1977. Jaya Renyuan. Bandung: Gita Record Metropolitan.
Timoer, Soenarto.1988. Serat Wewaton Padhalangan Jawi Wetanan II. Jakarta: Balai Pustaka.